One can view the recent science fiction films Gravity, Interstellar, and The Martian as a three-part dialogue concerning the existential relationship between humanity, technology, and the science employed to create said technologies. Pitched into the deep of space, each film’s protagonist must seek to find technological answers to save their own existence. Each film’s exploration of these themes essentially questions the importance of technology as a product of scientific-calculative thinking and the validity of this thinking as the primary mode of (...) understanding the world. In this article, I explore the existential dialogue crafted between these films through Walter Benjamin and Martin Heidegger. Through Benjamin, we will see how the medium of film is completely dependent upon technology to present its art and how this transforms the stories it tells, while also transforming the audience and the audience’s reality. Consequently, understanding the popular reception of these films becomes just as important as the films themselves for our present study. Through Heidegger, we will see how technology provides a space where we can find a truth about ourselves and our reality. However, modern technology’s increasing scientific complexity, created by scientists who in turn employ modern technology to further science, also conceals just as much as it reveals. These films provide us with an opportunity to explore a truth about our dependence upon technology even though, as technologically dependent works of art, they may also conceal how dependent upon science we have become when constructing our reality. (shrink)

The national ethical guidelines relevant to assisted reproductive technology have recently been reviewed by the National Health and Medical Research Council. The review process paid particular attention to the issue of non-medical sex selection, although ultimately, the updated ethical guidelines maintain the pre-consultation position of a prohibition on non-medical sex selection. Whilst this recent review process provided a public forum for debate and discussion of this ethically contentious issue, the Victorian case of JS and LS v Patient Review Panel [2011] (...) VCAT 856 provides a rare instance where the prohibition on non-medical sex selection has been explored by a court or tribunal in Australia. This paper analyses the reasoning in that decision, focusing specifically on how the Victorian Civil and Administrative Tribunal applied the statutory framework relevant to ART and its comparison to other uses of embryo selection technologies. The Tribunal relied heavily upon the welfare-of-the-child principle under the Assisted Reproductive Treatment Act 2008. The Tribunal also compared non-medical sex selection with saviour sibling selection. Our analysis leads us to conclude that the Tribunal’s reasoning fails to adequately justify the denial of the applicants’ request to utilize ART services to select the sex of their prospective child. (shrink)

What does it mean to"do theory" in America? In what ways has "French Theory" changed American intellectual and artistic life? How different is it from what French intellectuals themselves conceived, and what does all this tell us about American intellectual life? Is "French Theory" still a significant force in America, raising conceptual questions not easily answered? In this volume of new work--including the French writers Julia Kristeva, Jacques Derrida, Jean Baudrillard, and Gilled Delezue, as well as essays by Sylvere Lotringer (...) and Sande Cohen, Mario Biagoli, Elie During, Chris Kraus, Alison Gingeras, and Kriss Ravetto, among others--French theorists assess the impact and reception of their work in America, and American-based critics account for their effects in different areas of cultural criticism and art over the last thirty years. (shrink)

This volume brings together for the first time the diverse threads within the growing field of serendipity research, to reflect both on the origins of this emerging field within different disciplines as well as its increasing influence as its own field with foundational texts and emerging practices. The phenomenon of serendipity has been described in many ways since Horace Walpole initially coined the term in 1754 to categorize those discoveries that happen by “both accidents and sagacity”. This book offers a (...) sampling of perspectives from experts in serendipity research from organizational studies, management theory, information science and library studies, psychology, literature, computer science, social science, ethics, and the history and philosophy of science. Considerations about the importance and role of serendipity are being raised now across science (both empirical and theoretical) as well as practice (from art and innovation to leadership and governance), with ever more eyes looking closer at its significance in human history and the likelihood it will play a key, while unpredictable, role in forming our future. Serendipity Science represents an emerging, and also important and potentially necessary field of study, if we are to deal well as a society with our complex times and uncertain future. (shrink)

Dieses Buch konzipiert Virtualität in Anlehnung an Gilles Deleuze nicht im Gegensatz zu Realität, sondern zu Aktualität und verknüpft dieses Verhältnis mit den Begriffen von Medium und Form bei Niklas Luhmann. Sand fungiert dann als metaphorisches Modell für Virtualität, da er besonders 'medial', d. h. offen für die Bildung und Auflösung von Formen ist. Diese Prozesse werden inkl. ihrer Implikationen in Literatur, Theorie und Kunst untersucht.

The aim of this paper is to show how a sensory approach to visual arts can be relevant for philosophy and how this prism, once brought to philosophy, can give insights on art in return. I will try to demonstrate that the difference between modernity’s two main schools of thought (namely, materialism and idealism) can be understood – thanks to the model of painting as an allegory of the world – as an exclusive preference for one sense: touch for materialism (...) and sight for idealism. Much as the two schools differ, both consider the painting (or the world) a finite picture, whose elements can be juxtaposed in a single homogeneous plane of knowledge devoid of any opacity. This leads to separate both vision and the mind from the body and from the world. As a result, sight and touch end up dissociated. That is why, to challenge this modern paradigm and renew with a holistic relationship to the world and to ourselves, philosophers and artists propose a shift towards a synaesthetic approach to painting. Such an approach will uncover a modality of being where the body, the subject, and the world, as well as sight and touch, can be reunited. Thus, I will show that Merleau-Ponty’s ontology of the flesh – that echoes through the paintings of artists who attempt to break free from the frame and engage the observer with all his senses and being, such as Racławice Panorama, Malevich, El Lissitzky, Cézanne or the Navajos’ sand paintings – can offer, thanks to a synaesthetic approach, both a new framework for philosophy and a new understanding of visual arts. (shrink)

The Hague: the 'village' with court and government -- Dordrecht: the privileged city -- Haarlem: the frontier city of sand and wood -- Delft: the clean city -- Leiden: the old textile city with a new university -- Amsterdam: the city of wise merchants -- Utrecht: the bishop's city.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a standard (...) body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

This study explores the religious dimensions of Thai Buddhism through the interplay between ritual and art, and its impact on Thai identity. It investigates how art underpins Thai Buddhist rituals by examining the nature and role of prominent ritual and religious practices. The research focuses on temple art and artistic elements such as murals, statues, and other features that transform ritual spaces into sacred zones during significant festivals like Visakha Bucha and Makha Bucha. Additionally, it includes an analysis of (...) class='Hi'>sand mandalas, which symbolize temporality and engage participants in their creation and observation. The study also addresses the ethnoreligious aspects of Thai folk music (Luk Thung) and dance-drama (Khon), highlighting their roles in reinforcing Buddhist institutions and societal cohesion. By examining case studies such as Loy Krathong and the Phuket Vegetarian Festival, the study demonstrates how religious and cultural performances shape Thai identity. Ultimately, the research asserts that Thai Buddhist art functions as both a symbol of religious principles and an active medium for religious representation and performance, thereby affirming and enacting Thai national and sacred identity. (shrink)

Merold Westphal’s new publication, Kierkegaard’s Concept of Faith, gives us an opportunity to explore the many ways in which Kierkegaard has influenced Westphal’s thinking as a whole. This present contribution seeks to show how Kierkegaard helps Westphal discover a concept of faith which holds no ‘reasonable’ foundation as it is entirely dependent upon two different aspects of revelation in tension with each other. Moreover, faith is seen as a willing assent by the believer, and thus it becomes a task and (...) not merely a proposition to behold or to which one’s life conforms. In addition to explicating this notion of faith within his work, this present contribution seeks to situate this faith within Westphal’s philosophy of religion, showing how it is integral to Westphal’s entire project. (shrink)

Helvétius and the philosophy of happiness.--The player's illusion.--The beyond.--The question of free will.--The insurrection of the vertebrates.--The pessimism of Leopardi.--The colors of life.--The art of seeing.--The rivers of France.--The fall of days.--Insinuations.--Footprints on the sand.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.2 (2003) 31-41 [Access article in PDF] Threescore and TenFire, Place, and Loss in the West David Strohmaier The only conclusion I have ever reached about trees is that I love all trees, but I am in love with pines. —Aldo Leopold, A Sand County Almanac 1He died protecting his pines. It was spring, 1948, and Aldo Leopold was spending time with his family (...) at their beloved cabin they called "the Shack." Over the years, he had planted close to 30,000 trees and shrubs on the property, trying to resuscitate a tired Wisconsin sand farm into some semblance of ecological health. 2 Leopold was keenly aware of fire's natural role in ecosystems, but sometimes there's more to fire and living with fire than energy flow, nutrient flush, and plant physiology. 3During the Leopolds' stay at the Shack, a neighbor's trash fire, fanned by a west wind, escaped its bounds and threatened to overtake the pines. Alone, along one flank of the fire, Aldo suffered a heart attack and was later found dead, lying on his back in the smoldering grass. 4 For the love of pines.In A Sand County Almanac (accepted for publication just one week before his death), Leopold explores several possible reasons for his bias [End Page 31] towards pines: maybe it's because he planted the pines, or pines are rare where he lives, or pines have a longer life expectancy than other trees, or pines are evergreens, or because his neighbors don't have many pines on their land, or pines are worth more to the lumberman than other species, or pines engender more plant diversity than other species. In the end, he concludes that our plant biases reflect not only vocations but avocations, with a delicate allocation of priority as between industry and indolence. The farmer who would rather hunt grouse than milk cows will not dislike hawthorn, no matter if it does invade his pasture. The coon-hunter will not dislike basswood, and I know of quail hunters who bear no grudge against ragweed, despite their annual bout with hayfever. Our biases are indeed a sensitive index to our affections, our tastes, our loyalties, our generosities, and our manner of wasting weekends. 5Leopold's last act in life—fighting a fire endangering something he valued—testifies to the tension between Leopold's concept of thinking like a mountain and our reality of living in the present, between mountain time and human time. It's doubtful that the landscape around the Shack would have suffered permanent damage even if the fire overran his pines. Some trees would have burned and died, but, eventually, the land would revegetate and more pines could be planted. But for humans who, according to the psalmist, live but "[t]hreescore and ten, or even by reason of strength fourscore," 6 we may never see our pines, or any other part of the landscape, fully healed, assuming it even can be. One tree, or grove of trees, is not necessarily interchangeable with another. Places can be lost and never replaced. This is one reason why philosopher Robert Elliot is so skeptical of ecological restoration. Like a work of art, simply replacing it with the most exacting replica will never fully replace the original, for part of an object's value derives from its history: who painted or sculpted it, when it was crafted, the reason behind its contours and colors. 7 Not only are exact replicas in nature hard to come by (even though our science and technology of restoration is improving), but some values can never be restored.Some things are worth protecting from fire simply because they're important to us—even a part of us—and not necessarily because they're resources on their way to becoming beef, venison, or two-by-fours. What's critical, though, as we struggle to live in a land that burns, is getting clear about how we want that land to look and why. I fear that we... (shrink)

Scientific discoveries are often to some degree influenced by luck. Whether luck’s influence is at odds with common-sense intuitions about responsibility, is the central concern of the philosophical debate about moral luck. Do scientists acknowledge that luck plays a role in their work and – if so – do they consider it morally problematic? The present article discusses the results of four focus groups with scientists, who were asked about their views on luck in their fields and its moral implications. (...) The participants underscored circumstantial luck as a key dimension of luck in science. Nevertheless, most participants insisted that there are ways of executing ‘control’ in science: They believe that virtues and skills can increase one’s chances for success. The cultivation of these skills and virtues was considered a reasonable ground for pride. Prizes and rewards were rarely tied to personal desert, but instead to their societal function. (shrink)

Innovation processes are extremely complex and opaque, which makes it tough or even impossible to govern them. Innovators lack control of large parts of these developments and lack of foreknowledge about the possible consequences of emerging technologies. Because of these features some scholars have argued that innovation processes should be structurally reformed and the agent-centered model of responsibility for innovation should be dismissed altogether. In the present article it will be argued that such a structural idea of responsible research and (...) innovation presumes rational agents who can be motivated by reasons. Instead of dismissing the agent-centered approach to responsibility for innovation processes a virtue ethical approach will be developed. Virtues should be considered as the intellectual and moral dispositions presumed for good decision making. It will be shown that creativity and eagerness are creditable character traits that have a distinct positive value for managing the opaqueness of innovation processes. Such traits are mandatory for change and betterment. Furthermore, it will be argued that the notion of responsibility of innovators should not be understood merely as means for constraining them but also as a tool to perpetuate their integrity and happiness. Through discussing the captivating examples of Steve Jobs and the protagonist of Mary Shelley’s Frankenstein it will be shown how to apply this virtue ethical framework for innovators in practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gaia, Gender, and Sovereignty in the AnthropoceneDanielle SandsIn a 2011 lecture addressing ecological crisis, sociologist Bruno Latour advanced James Lovelock’s Gaia model as a way of re-conceptualizing nature in an Anthropocene or “postnatural” (Latour 2011, 9) world.1 For Latour, Gaia, a mythological goddess reinvented by Lovelock as a scientific metaphor, embodies the collision between discourses, “this mix up of science and politics” (Latour 2011, 8), which the Anthropocene represents. (...) In its deviation from benevolent images of Mother Nature, Gaia provides an alternative account of the human relationship with the natural world, one that implies that our response to the Anthropocene crisis should not derive from a solely scientific framework. Latour seizes upon the image of Gaia with fervor, celebrating “her” not only as an assemblage of different discourses, but, in “her” disunity and non-sovereignty, as an alternative political paradigm. Of less political interest for Latour is the gendering of Gaia; like Lovelock before him, Latour regards the feminizing of Gaia as an affective metaphorical device and not a political issue.2It is hard not to view Latour’s “Gaia politics” (Latour 2004, 5) as part of a broader tendency to revivify conservative frameworks in the face of crisis, here a crisis of a hitherto unknown scale.3 As Claire Colebrook wryly notes of post-apocalyptic narratives: “it is easier to imagine the end of the world […] than it is to think outside the structuring fantasies of gender.” Where Latour stops short—just—of endorsing what Colebrook calls “an active male heroism driven by a female fragility that appears to hold the promise of the future” [End Page 287] (Colebrook 2014 v.2, 150), his restraint does not extend to all advocates of Gaia-led theories. Witness, for example, Eileen Crist’s feverish call to arms: “[T]his is our moment. It is the moment to face the root of the terrible trouble we have unleashed for the biosphere and for ourselves: our expansionism, arrogance, and domination within the biosphere. In acts of beauty, and without fear, this is our moment to put Gaia first” (Crist 2010, 330). In Crist’s hands, Gaia—and the Anthropocene framework that is presupposed but here disavowed—not only offers an alibi for apocalyptic language and discredited narratives, but more importantly, unwittingly endorses the very worldview—uncritical, narcissistic, and heavily gendered—that it purports to replace.4The Anthropocene compels us to question the literal and metaphorical place of the human. In projecting human maternity onto the earth, the figure of Gaia and that of Mother Earth before her restrict thought to an immobile narcissism. In this article, I shall first address the way in which a purportedly progressive feminized figure of Gaia actually absents woman, denying female agency in favor of male sovereignty. I shall frame this discussion both within ecofeminist debates and in light of recent Anthropocene rhetoric. Secondly, I shall contextualize Gaia within the broader problem of figuring the female, asking whether an Anthropocene framework necessarily inclines us toward the replication of gender stereotypes.Gendering Gaia and the Woman-Nature ConnectionA clear aim of James Lovelock’s adoption of the name Gaia as a metaphor for “the living planet” earth (Lovelock 1988, 19) was to stimulate humans to accept their previously neglected environmental responsibilities. By according Gaia an identity, one that chimed both with ancient narratives and 1970s sensibilities, Lovelock invited humans to acknowledge that there was a living victim of their environmental misdemeanors. For Lovelock, speaking of the earth as Gaia counters proprietorial conceptions stemming from the damaging notion of human stewardship and undermines the notion of earth as a passive or inert object upon which human agents act. Assessing Lovelock’s approach, Mary Midgley asks: “Was it necessary to use language that apparently personified the earth?” (Midgley 2007, 8) and concludes affirmatively, asserting that the concept of a mechanistic universe is so deeply ingrained in human thought that Lovelock needed to name the earth in order to facilitate such an imaginative leap.By framing the earth as female, Lovelock capitalized on age-old tensions in the concept of the female: Gaia is nurturing but ruthless, fragile... (shrink)

Animal ethicists have recently debated the ethical questions raised by disenhancing animals to improve their welfare. Here, we focus on the particular case of breeding hens for commercial egg-laying systems to become blind, in order to benefit their welfare. Many people find breeding blind hens intuitively repellent, yet ‘welfare-only’ positions appear to be committed to endorsing this possibility if it produces welfare gains. We call this the ‘Blind Hens’ Challenge’. In this paper, we argue that there are both empirical and (...) theoretical reasons why even those adopting ‘welfare-only’ views should be concerned about breeding blind hens. But we also argue that alternative views, which (for example) claim that it is important to respect the telos or rights of an animal, do not offer a more convincing solution to questions raised by the possibility of disenhancing animals for their own benefit. (shrink)

Martin Sand and Luca Chiapperino find in the concept of serendipity a versatile umbrella term to reassess their previous work on moral luckLuck (also, Epistemic Luck, Moral Luck) and collectiveCollectiveresponsibilityResponsibility. Moral luck supposedly occurs when someone receives praise or blame for things beyond control. Given the ubiquity of luckLuck (also, Epistemic Luck, Moral Luck), this seems to be a seriously disquieting aspect of ordinary morality. The rewards and recognition for serendipitous discoveries fall into exactly this category. That is: more (...) than the intentions, actions, and characters of scientists matters for discoveries to obtain, just as in cases of moral luckLuck (also, Epistemic Luck, Moral Luck) something beyond morality affectsAffect our moral judgments. Even if a theoretical way of resolving the conceptual ambiguities that underlie this debate were found, there remain practical questions of how to perform stratification in science and innovationInnovation in ways that both hinge on, and yet refrain from, considerations of desert and achievement. With the example of Edward Jenner’sJenner, EdwardluckLuck (also, Epistemic Luck, Moral Luck)- and serendipity-infused discoveryDiscovery (also, Scientific Discovery) of vaccination, the authors attempt to better understand the intricate valueValue trade-offs that underlie stratification policies in science, which have to be constantly re-negotiated to maintain their legitimacy. Thereby, Sand and Ciapperino aim to take a bold step towards understanding the ethicsEthics of serendipity. (shrink)

NOTE Special Title: PAPERBACK OUT OF PRINT 1/22/99 This book is about the relationship between blackness, ethnicity, and speed. It is an in-depth ethnographic and anthropological study of a population of collegiate sprinters, constructed upon a formal model of ethnic and cultural identity which sees social interaction, expressed in the order and arrangement of social identities, as a means of establishing social networks through universal or cognitive rules.

A growing volume of research from global data demonstrates that institutional care under conditions of deprivation is profoundly damaging to children, particularly during the critical early years of development. However, how these individuals develop over a life course remains unclear. This study uses data from a survey on the health and development of 420 children mostly under the age of three, placed in 12 infant care institutions between 1958 and 1961 in Zurich, Switzerland. The children exhibited significant delays in cognitive, (...) social, and motor development in the first years of life. Moreover, a follow-up of a subsample of 143 children about 10 years later revealed persistent difficulties, including depression, school related-problems, and stereotypies. Between 2019 and 2021, these formerly institutionalized study participants were located through the Swiss population registry and invited to participate once again in the research project. Now in their early sixties, they are studied for their health, further development, and life-course trajectories. A mixed-methods approach using questionnaires, neuropsychological assessments, and narrative biographical interviews was implemented by a multidisciplinary team. Combining prospective and retrospective data with standardized quantitative and biographical qualitative data allows a rich reconstruction of life histories. The availability of a community sample from the same geographic location, the 1954–1961 cohort of the Zurich Longitudinal Studies, described in detail in a paper in this issue, enables comparison with an unaffected cohort. This article describes the study design and study participants in detail and discusses the potential and limitations of a comparison with a community sample. It outlines a set of challenges and solutions encountered in the process of a lifespan longitudinal study from early childhood into the cusp of old age with a potentially vulnerable sample and summarizes the lessons learned along the way. (shrink)

The possibilities of non-invasive prenatal testing (NIPT) are expanding, and the use of NIPT for adult-onset conditions may become widely available in the near future. If parents use NIPT to test for these conditions, and the pregnancy is continued, they will have information about the child’s genetic predisposition from birth. In this paper, we argue that prospective parents should be able to access NIPT for an adult-onset condition, even when they have no intention to terminate the pregnancy. We begin by (...) outlining the arguments against testing in such a situation, which generally apply the same considerations that apply in the predictive testing of a minor to the fetus in utero. We then contend, firstly, that there are important practical considerations that support availability of testing for prospective parents regardless of their stated intentions. Secondly, we object to the ethical equation of a fetus in utero with a minor. We base our analysis on a view of pregnancy that conceptualises the fetus as a part of the gestational parent, as opposed to the more common ‘container’ model of pregnancy. We suggest that fetal information is best conceptualised as shared information between the gestational parent and future child. Thus, it should be approached in similar ways as other kinds of shared information (such as genetic information with implications for family members), where a person has a claim over their own information, but should be encouraged to consider the interests of other relevant parties. (shrink)

God is playful. Like a child building sand castles on the beach, God creates the world and destroys it again. God plays with his (or her) devotees, sometimes like a lover, sometimes like a mother with her children, sometimes like an actor in a play. The idea of God's playfulness has been elaborated in Hinduism more, perhaps, than any other religion, providing one of the most distinctive and charming aspects of Indian religious life. Lila or "divine play" can refer (...) to many things: to God's playful creation of the world and to religious dramas or "plays," as well as to various motifs in Hindu art. But despite the importance of lila in the cultural history of South Asia, few comprehensive studies of it are available, partly because scholars have tended to emphasize only one dimension of lila--either the theological or the performative--at the expense of the other. The Gods at Play fills this gap by bringing together scholarly essays on all aspects of this important Hindu idea, providing students with a broader understanding of popular Hindu culture and religion. (shrink)

Regenerative agriculture refers to a suite of principles, practices, or outcomes which seek to improve soil health, biodiversity, climate, ecosystem function, and socioeconomic outcomes. However, recent reviews highlight wide heterogeneity in how it is defined. This impedes our ability to understand what regenerative agriculture is and has left the movement open to strategic repurposing by diverse stakeholders. Furthermore, the conceptual franchising of the regenerative agriculture debate by Western culture has omitted discussions surrounding social justice, relational values, and the contribution of (...) Indigenous and local knowledge that does not align with Western-centric producer-consumer frameworks. This is a continuation of injustice by creating barriers to representation and participation, and its confrontation will ultimately be necessary for regenerative agriculture to achieve its transformative potential. This article demonstrates that the farming techniques associated with the regenerative agriculture movement today have been practiced for centuries, and in some cases millennia, by Indigenous and local communities around the world. We propose that current Western academic attempts to define regenerative agriculture have resulted in long lists of practices, principles, and outcomes which fall short of describing the whole, because they lack the relational values component that is so integral to these Indigenous and local knowledge systems. We take an urgently needed, Indigenous-informed approach to defining regenerative agriculture, which confronts current epistemic injustice and prioritizes sociocultural and relational values. Finally, we propose an anti-colonial definition that draws on diverse knowledge systems including Indigenous ecophilosophies and published scientific analyses. (shrink)

Buddhist maṇḍala that are made of colored sand or are painted on cloth have been well represented in Asian art circles in the West. Discussions of the role that they can play in stimulating religious contemplation or even as sacred icons charged with power have also appeared in English scholarship. The metaphorical meaning of the term maṇḍala, however, is less commonly referenced. This paper discusses how the founder of the Japanese school of Shingon Buddhism, the Buddhist monk Kūkai of (...) the ninth century, uses this term in a metaphorical sense to convey the transformed nature of awareness that is the ultimate goal of Buddhist practice. Emphasis is also placed on the importance of metaphorical thinking to the religious path of transformation itself. (shrink)

This article examines Re Imogen (No 6) (2020) 61 Fam LR 344, a decision of the Family Court of Australia, which held that an application to the Family Court is mandatory if a parent or a medical practitioner of a child or adolescent diagnosed with gender dysphoria disputes the diagnosis, the capacity to consent, or the proposed treatment. First, we explain the regulatory framework for the medical treatment of gender dysphoria in children and adolescents, including the development of the welfare (...) jurisdiction under Section 67ZC of the Family Law Act 1975 (Cth). We then provide an overview of the Re Imogen decision, and discuss the balancing exercise involved in determining a child’s best interests in the medical treatment context. We challenge the Family Court’s conclusion that, in relation to a dispute about diagnosis or treatment, a finding that the child or adolescent is Gillick competent to consent to treatment is not determinative, and the Family Court must determine the dispute. We argue that this conclusion represents an unjustified incursion into the right of Gillick competent transgender children and adolescents to make decisions about their own bodies and identities, and that the protective role of parents and the Family Court cannot justify interfering with their bodily autonomy in this context. Finally, we propose an alternative regulatory framework that removes the Family Court from the medical treatment process for gender dysphoria in circumstances of dispute between a parent and their Gillick competent child. (shrink)

Merold Westphal’s method often consists in recontextualizing, or appropriating, various sources in order to either make his own argument or to make other’s arguments seem self-evident. This method is especially noteworthy in his use of Aufhebung, a term which he initially discovers in his early work on Hegel. Westphal will eventually appropriate this term and, as this article will show, utilize it throughout his other academic works, particularly in his reading of Kierkegaard, for many an ‘anti-dialectical’ thinker. This article further (...) explores Westphal’s use of the term in order to reveal that his utilization of the term extends beyond Hegel’s own original intention and that, in doing so, Westphal creates something quite unique and separate from the term itself: a ‘Westphalian Aufhebung.’. (shrink)

There is a need for empirically based research on social and ethical challenges related to informed consent processes, particularly in studies focusing on adolescent sexual and reproductive health. In a pilot study of a school-based pregnancy prevention intervention in rural Zambia, the majority of the guardians who were asked to consent to their daughters’ participation, refused. In this paper we explore the reasons behind the low participation in the pilot with particular attention to challenges related to the community engagement and (...) informed consent process. The pilot was implemented in two schools and examined the acceptability of a package of interventions including economic support to families to keep their girls in school, pocket money for girls, youth club meetings on reproductive health, and community meetings to sensitize the community. Focus group discussions were conducted with girls who participated in the pilot, boys in their class and with parents. Individual semi-structured interviews were conducted with teachers, peer educators and community health workers involved in the coordination of the intervention as well as with religious and traditional leaders. Data were analyzed through thematic analysis. The findings indicate that inadequate use of recognized community communication channels during the community engagement process and dissemination of information about the pilot resulted in limited understanding of the pilot concept by the community. This surfaced through uncertainty and fear that the intervention may result in loss of control over daughters, worries about why money was provided unconditionally to girls, and suspicion of links to satanism. The sense of insecurity appeared to be exacerbated by low literacy levels, poverty, fear of loss of bride wealth, perceived disregard for local perceptions of social status, and scanty trust in the actors implementing the pilot. Inadequate use of locally appropriate channels in the dissemination of information created room for interpretation and facilitated development of mistrust, undermining the conditions for community engagement and actual informed consent. A key lesson learnt is the importance of taking seriously the complexity of local values and structures that may impact people’s capability to consent or not consent to a study in an informed manner. (shrink)

Penicillin is a serendipitous discovery par excellence. But, what does this say about Alexander Fleming’s praiseworthiness? Clearly, Fleming would not have received the Nobel Prize, had not a mould accidently entered his laboratory. This seems paradoxical, since it was beyond his control. The present article will first discuss Fleming’s discovery of Penicillin as an example of moral luck in science and technology and critically assess some common responses to this problem. Second, the Control Principle that says that people are not (...) responsible for things beyond their control will be defended. An implication of this principle is that Alexander Fleming’s desert, which is based on his epistemic skills, remains untouched by luck. Third, by distinguishing different notions of praiseworthiness, a way to resolve the paradox of moral luck will be elaborated. Desert provides only a pro tanto reason to determine whether someone is an appropriate addressee of reward. Here, luck can make a difference. Forth, it will be argued that stimulating the quest for socially beneficial science provides a compelling reason to treat scientists with equal desert differently. Penicillin provides striking evidence for the importance of this quest and showcasing it incentivizes the making of socially beneficial science. Ultimately, it will be justified why Fleming deserved the Nobel Prize in at least one sense of the concept. (shrink)

Moral luck occurs when factors beyond an agent’s control affect her blameworthiness. Several scholars deny the existence of moral luck by distinguishing judging blameworthy from blame-related practices. Luck does not affect an agent’s blameworthiness because morality is conceptually fair, but it can affect the appropriate degree of blame for that agent. While separatism resolves the paradox of moral luck, we aim to show it that it needs amendment, because it is unfair to treat two equally blameworthy people unequally. We argue (...) that separatists should conceive fairness as a pro tanto reason for blame. By locating fairness as a ground for blame within a wider axiology of blame, separatism could resolve the challenge of blaming fairly. In such an axiology, reasonable and fair blame diverge. (shrink)

Of hermeneutics and style: how to read Westphal -- Recontextualization: a Westphalian aufhebung? -- Westphal and Hegel: judging religion through politics -- Hegelians in heaven, but on earth ...: an "unfounding," Kierkegaardian faith -- Religiousness: the expression of faith -- Faith seeking understanding: Westphal's postmodernism -- Intermediary conclusions: the believing soul's self-transcendence -- Radical eschatology: Westphal, Caputo, and onto-theology -- Comparative eschatology: Westphal's theology, Kearney's philosophy, and Ricoeurian detours -- Westphal as a theologian and why it matters.

This article critically examines the competitive, adversarial nature of the Western neoliberal style of democracy. Specifically, this article focuses on Amartya Sen’s notion of a “universal democracy” as a means of addressing socio-economic inequalities through Sen’s capability approach. Sen’s capability theory has become an acclaimed and widely used theory to evaluate and understand development and inequalities. However, we employ a distinctive critique by engaging Amartya Sen through Herbert Marcuse’s analysis of one dimensionality and the adversarial nature of Western democracy. We (...) further highlight how contemporary neoliberal society employ a particular, adversarial form of public participation. Through this, we underline the various neoliberal problemata, such as Western idealism, political passivity, and a “flattening of choice,” within contemporary democracies and locate how their competitive, winner-take-all nature has become essential to contemporary, Western democratic models. Consequently, we argue that democracy, as a functional concept and form of public engagement, should be fundamentally re-examined in order to address inequalities. (shrink)

The number of publications that highlight the influence of visions and futuristic narratives on the development of emerging technologies increases. Toolboxes such as “Hermeneutical Technology Assessment” and “Vision Assessment” provide methodological considerations on how to assess techno-futuristic narratives, their proponents, and their impact on technological development. Because of their contributions to the technoscientific discourse, a special responsibility for technological processes is attributed to the “visioneers” of such narratives. While such a claim naturally follows from an agential role in a process, (...) it is not clear whether visioneers should be held responsible. Some problems of this attribution will be addressed in the present paper. Particularly the following questions will be considered: Which role does autonomy play for responsibility? Is causation sufficient for the attribution of responsibility? Which role do intentions and alternatives play for the responsibility of visioneers? These questions will be discussed against the backdrop of contemporary approaches to the responsibility of visioneering and classic philosophical works in the field. Furthermore, the problem of accountability will be considered. Socio-technical systems are highly complex, which makes it hard to trace back the origins of particular developments. It will be argued that it is currently unreasonable to give visioneers the status of an important player. The article will shed light on the several dimensions of responsibility and provide a more nuanced understanding of responsibility in the context of new and emerging technologies. (shrink)

Little is known about how employees on husbandry farms perceive animal welfare and the factors influencing the relationship between them and the animals they engage with in their daily work. Reporting the findings of qualitative interviews with 23 employees on five Danish farms (mink, dairy and pig production), this paper describes how the employees viewed animal welfare, and discusses how they dealt with animal welfare issues in their daily work. Four distinct rationales for animal welfare were identified. 1) Animal welfare (...) was supported by concerns about production and health, and could be negotiated – especially when it came to the ability of the animals to perform natural behaviour. 2) Animal welfare was connected with the working conditions on the farm. 3) The employees’ views about animal welfare were affected by working conditions over which they had no influence. 4) An awareness of the condition of the animals was seen as obviously needed in relation to production, but a deeper attachment to some animals was also seen. A specific challenge is presented by the increasingly diverse workforce in farming, with one third of the employees on Danish farms coming from abroad. If farm owners are not able to integrate these employees, there is a risk of creating a second-tier of foreign workers who are isolated. Furthermore, it was seen that negative working conditions can be taken out on the animals, or that animal welfare can come to be seen as unimportant as compared with human welfare. (shrink)

Recently it has been argued that some instances of germ‐line gene therapy will change the identity of the person who receives the benefit of therapy, and that in these instances there is no good moral reason to conduct germ‐line gene therapy. Against this we argue that even if gene therapy should have an effect on the identity of the resulting person, this would not diminish the urgency of the therapy. Not only would impersonal moral reasons speak in favour of such (...) radical gene therapy, there would also be person‐affecting reasons to perform it. (shrink)

Tsenay Serequeberhan’s hermeneutics has been crucial to the development of African philosophy. Initially employed as a pathway through the ethno- and professional philosophical debates, scholars have engaged how Serequeberhan’s hermeneutics grapples with one’s own place within a socio-historical world in service of liberation/self-determination. However, this scholarship mainly has focused on his adaptation of Gadamer’s ‘effective-historical consciousness’ for his own concept of heritage. This consequently leaves his concept of a ‘lived existence’ – which is equally crucial – under-examined. This paper probes (...) what a ‘lived existence’ entails and its essentiality when explicating how one even begins to authentically think, which is the groundwork to Serequeberhan’s hermeneutics. This deepens why his concept of heritage matters as a starting point for self-determination. Addressing this lacuna, this article asks, where does philosophy begin and where should it go, particularly when rationality has been historically denied? Serequeberhan’s point of departure to answer this question proposes Heidegger’s concept of thinking itself to arrive at a notion of existence; contrariwise to most African scholars who employ a Sartrean existentialism via Frantz Fanon. As such, this paper gives an in-depth exploration of Serequeberhan’s initial reading of Heidegger, and then unfolds how he appropriates Heidegger to craft his notion of ‘lived existence’. The upshot this is twofold: First, a broader understanding of Serequeberhan’s project, its non-existentialist view of existence; Second, it describes how he specifically tailors his ‘lived existence’ to undergird his hermeneutical approach to heritage as a prescriptive, activist project which dynamically addresses the postcolonial situation. (shrink)

The acclaimed and controversial historian turns his critical gaze on the writing of history today. Drawing on his four decades as a professional historian, Shlomo Sand interrogates the academic discipline of history, whose origin lay in the need for a national ideology. In the last few decades, traditional history has begun to fragment, yet only to give rise to a new role of historians as priests of official memory. Working in Israel has sharpened Sand's perspective, since the role (...) of history as national myth is particularly salient in a country where the Bible is treated as a history book. He asks such questions as: Is every historical narrative ideologically marked? Do political requirements and state power weigh down inordinately on historical research and teaching? And, in such conditions, can there be a morally neutral and 'scientific' truth? Despite his trenchant criticism of academic history, Sand would still like to believe that the past can be understood without myth, and sees pointers for this in the work of Weber and Sorel"--Provided by publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Blue Pearl: The Efficacy of Teaching Mindfulness Practices to College StudentsDeborah J. Haynes, Katie Irvine, and Mindy BridgesBetween fall 2003 and spring 2011 I integrated contemplative practices into ten courses with a total of 877 students. Nine of these courses carried credit for the core undergraduate curriculum, either in literature and arts or ideals and values, and students elected my courses from a menu of options. Individual courses (...) ranged from 12 to 409 students. During two of these years, I conducted detailed human subject research using a number of surveys, gathering both quantitative and qualitative data with first-year undergraduates on their experiences with contemplative pedagogy. These courses dealt specifically with art and religion, focusing on traditions where the visual arts are intricately connected to religious practice. I gathered more subjective data in all of the other courses, including large lecture courses on world art from 1500 to the present. In general, my students were not majors in art or religious studies, but came from many disciplines within the arts, social sciences, and sciences, including business and engineering. This essay describes the process and results of the research I conducted with two undergraduate assistants, Katie Irvine and Mindy Bridges. Besides summarizing the findings, I also describe student responses to teaching a specific mindfulness practice—the bow—within a large lecture course with undergraduates. It is notable how little actual data exists about student experiences, and this prompted me to undertake the research that forms the basis for this essay.1I begin with a few comments on my understanding of contemplative or mindfulness practice and my role as researcher. There is no single way to describe or engage in contemplative practice. The Latin contemplari means to observe, consider, or gaze attentively. This definition gives clues about the varied forms of contemplative practice, which include sitting, standing, walking, and lying down; using attitudes of not doing; deep listening, pondering, and radical questioning; guided imagery and active imagination; exercises with the body; focusing techniques such as those developed by Eugene Gendlin; concentrated language experiments with freewriting, poetry, and journals; beholding; and creation of visual images to represent such experiences.2 The [End Page 63] word mindfulness is often used to describe contemplative practice. In its most basic form, it means moment-by-moment present awareness, which is available to everyone, regardless of religious or spiritual orientation.Broadly understood as methods to develop concentration, to deepen understanding and insight, and to cultivate awareness and compassion, these practices can have a profound impact on a student’s experience both in college and beyond. Specifically, teaching students techniques of awareness, concentration, and means of disciplining their attention is absolutely essential in our era of fragmentation, ever-increasing speed, multitasking, and continuously interrupted attention. While contemplative practices are rooted in the world’s religious traditions, I often tell parents and students that the application of these practices in a secular educational context can enhance the educational experience in unique ways. Students develop new techniques of awareness, they learn to refine their perceptual and observational skills, and they are encouraged to take chances and to foster attitudes such as curiosity and wonder rather than cynicism about the world in which we live.Contemplative PedagogyIntroducing contemplative practices into the classroom results in new educational practices and pedagogies. For example, in a course titled The Dialogue of Art and Religion my students learn about Russian Orthodox icons, Himalayan Buddhist thangkas, and Navajo sand paintings through studying cultural and social history, religion, formal visual analysis, and creative processes. I define this interdisciplinary teaching as a form of comparative visual studies. I normally teach this class to eighteen or twenty first-year college students. Students also learn about the practices of prayer and meditation that are central to Christian, Buddhist, and Native American traditions through sustained reading and discussion. They read accessible books about contemplative practice such as Thich Nhat Hanh’s The Miracle of Mindfulness.3 In each class, we practice simple techniques such as bowing, sitting in silence, breath awareness, and daily writing exercises.Over the past decade my students have talked about how these mindfulness exercises help to foster an atmosphere of respect, noting... (shrink)

In 2017, Bruce Clarke proposed that Gaia, the mythological goddess repurposed in the 1970s by James Lovelock and Lynn Margulis as geobiological trope, and later adapted for twenty-first century environmental discourse by Bruno Latour and Isabelle Stengers, is a vital resource in the cultivation of a “planetary imaginary” which attends to “our systemic entanglements”. Contemporary forms of Gaia discourse, Clarke argues, are “fit for communicative efficacy in the so-called Anthropocene epoch”. In an era marked by scalar and communicative disjunctions, Clarke’s (...) claim is significant. Whilst ultimately he deviates from Stengers and Latour, arguing that neither addresses “the cybernetics of Gaia” and... (shrink)

The nexus of the moral luck debate is the control principle, which says that people are responsible only for things within their control. In this paper, I will first argue that the control principle should be restrained to blameworthiness, because responsibility is too wide a concept to square with control. Many deniers of moral luck appeal to the intuitiveness of the control principle. Defenders of moral luck do not share this intuition and demand a stronger defence of the control principle. (...) I will establish a defence of the control principle based on the value of simplicity for selecting a theory of blameworthiness. A simpler theory of blameworthiness is more likely to be true, and not being falsely judged blameworthy is desirable. I will conclude that simplicity advices the acceptance of the control principle over other theories of blameworthiness that embrace factors beyond control. (shrink)

Several studies have indicated that scientists are likely to have an outlook on both facts and values that are different to that of lay people in important ways. This is one significant reason it is currently believed that in order for scientists to exercise a reliable ethical reflection about their research it is necessary for them to engage in dialogue with other stakeholders. This paper reports on an exercise to encourage a group of scientists to reflect on ethical issues without (...) the presence of external stakeholders. It reports on the use of a reflection process with scientists working in the area of animal disease genomics (mainly drawn from the EADGENE EC Network of Excellence). This reflection process was facilitated by using an ethical engagement framework, a modified version of the Ethical Matrix. As judged by two criteria, a qualitative assessment of the outcomes and the participants’ own assessment of the process, this independent reflective exercise was deemed to be successful. The discussions demonstrated a high level of complexity and depth, with participants demonstrating a clear perception of uncertainties and the context in which their research operates. Reflection on stakeholder views and values appeared to be embedded within the discussions. The finding from this exercise seems to indicate that even without the involvement of the wider stakeholder community, valuable reflection and worthwhile discourse can be generated from ethical reflection processes involving only scienitific project partners. Hence, the previous assumption that direct stakeholder engagement is necessary for ethical reflection does not appear to hold true in all cases; however, other reasons for involving a broad group of stakeholders relating to governance and social accountability of science remain. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)